Chromopiano



March 23 1926. 1,577,854

A. C. VINAGERAS CHROMOPIANO Filed Dec. 22, 1921 5 Sheets-Sheet 2 D i) I Hum 4.

C o 0 o O Q 0 O Q March 23 1926.

A. C. VINAGERAS CHROMOPIANO Filed Dec.

22 1921 5 Sheets-Sheet 5 March 23 1926. 1,577,854

.A. c. VINAGERAS CHROMOPIANO Filed Dec. 22, 1921 5 Sheets-Sheet 5 W/ h/ M Patented Mar. 23, 1926. I UNITED STATES FATE NT OFFICE.

ARTHUR C. VINAGERAS, OI LAWRENCE, MASSACHUSETTS.

CHROMOPIANO.

Application filed December 22, 1921. Serial Ro. 524,W07.

Toall whom it may concern:

Be it known that I, ARTHUR CooEzo VINA: GERAS, a- Cuban citizen, residing at Number 3 Jackson Terrace, city of Lawrence, State of Massachusetts, United States of America, have invented a Light-Projecting Instrument Designated with the Name of the Chromopiano. v

With this instrument or apparatus successions, juxtapositions and superpositions of spots of colored light are harmonized in tone as musical notes. Therefore the chromopiano can be tuned to unison with musical instruments. I describe my invention for the first time in this specification to which four sheets of drawings are attached. Similar numerals refer to similar parts throughout the several views.

The invention of the" chromopiano includes in reality the invention of an absolutely original art to which I have given the name of chromomusic or music of colors. It is evident that without the discovery of the physical significance oftone quality in natural combinations of colors, such as those observed in, spectra, soap bubbles, mother of pearl, feathers, etc., -it would have been impossible to me to invent chromomusic and the chromopiano. The object of chromomusic is to illuminate stages, halls, buildings and other things, with spots of colored light rhythmically changing in tone and duration as a musical composition and constituting sequences and chords of color notes composed and written in a manner analogous to that in which sequencesv and chords of musical notesare composed and written.

It is useful to remind that till Helmholtz discovered the physical significance of tone quality in music little or nothing was known concerning the physico-mathematical basis of music, notwithstanding that the habit of picking out some harmonious combinations of sounds is, undoubtedly, as ancient as the human race. Therefore it is not a rare thing that, though the art of making harmonious combinations of colors may be as old as music, few ersons have believed in the possibility of armoniously and methodically combining colors and musical notes.

In the same manner that music is the art of speaking without gestures and words, or an idealization of the arts of expression, chromomusic is an idealizatio'n of the art of painting. It is the art of painting not only in space but also in time, that is, the art of making harmonious combinations of ncessantly changing colors, dividing them n regular metrical portions, and furnishmg them with accent and cadence. .In fact, all musical terms can be used in chromo-. music without altering their artistic meanmg.

Physical observations tend to prove that colors are the relative speeds of oscillation of atomic electromagnets. These kinetic variations are transmitted through the ether to the retina and are subject to a law of physico-mathematical harmony which I have discovered and which I further explain. In consequence, in chromomusic colors are considered in perpetual motion.

The invention of chromomusic and the chromopiano will increase the beneficent subjective influence of color and music. It uncovers a new field of the art of lighting and illumination. It makes possible to play melodies and harmonics of color notes in accordance with the geometric and kinetic principles of the iridescent plays of light; to harmonize 'chromomusical and musical compositions, and to play chromopianos tuned to unison with the instruments of an orchestra; to synchronize the move ment of a chromopia-no with the movement of a player piano, an organ or a phonograph, and make them play together automatically; to accompany on a chromopiano the rhythmic movements of dancers; besides that the'chromopiano will facilitate in technical schools the artistic study of light and the teaching of polychromatic ornamentation.

In this specification I use geometrical drawings to explain the physico-mathematical law that governs the harmony of spectral colors. In Fig. 1- I divide the line VR into six equal parts VI, IB, BG, GY, YO, OR, and taking as centers the points V, I, B, G, Y, O, R, I describe the seven pairs of concentric circles Vo, Ii, Bb, Gg, Yy, 00, Br. I suppose that the distance between two consecutive intersections of the large circles represents the width of the colored regions of a solar spectrum PS, and the diameter of the small circles represents the diameter of the electrons of atomic electromagnets oscillating around the line of propagation of light. In Fig. 2 I display in a tangential order several pairs of concentric circles to obtain the r p e nta lon ofan e ectrom g t of light terms of a progression beginnin and having as difference two.

with its atomic nucleus G and its electrons V, I, I, B, B, Y, Y, O, O, R. Now supposing that an infinite number of these electromagnets oscillate around theline of propagation P (Fig. 2) in the direction of the arrows passing through V, it is easy. to conceive'that the tones of spectral colors are geometrically represented by the relative areas of seven concentric and consecutive circular rings of equal width, and arithmetically represented by seven consecutive with one his kinetic conception of light is confirmed by the geometrical coincidence existing betweenthe Fraunhofer lines A, a, B, C, D, E, b, F, G, G, k, H, K. L, M, (see Fig. 2), and some centers and points of tangency or intersection of the pairs of concentric circles displayed in a tangential orderin Fig. 2. In short, the harmony of a sequence of color notes is independent of the absolute areas of the color notes, and depends essentially'of the area ratios of the color notes in terms of violet or any other color note taken as keynote. These area ratios are between them as seven consecutive terms of a progression beginning with one and having as difi'erence two, the terms 15,17, 19, 21, 23, 25, 27,29, of this progression, being. evidently, the more approximate to the relative vibration numbers of a natural and fundamental scale of musical notes.

In the following table I compare the notes of a musical major diatonic scale with the color notes of my fundamental chromomusical scale:

Musical notesdo re mi fa sol la si d Vibration ratios in terms of do1 9/8 5/4 4/3 3/2 5/3 Equivalent ratios-15/15 135/120 /60 20/15 45/30 Mean difference between vibration ratios1/7 Color notesviole t indigo blue green yellow orange red Relzitiiria area numbers-45 17 19 21 23 25 27 29 Area ratios in terms of violet-1 17/15 19/15 7/5 23/15 5/3 9/5 29/15 Equivalent ratlos-15/15 136/120 76/60 21 15 46/30 5 3 72/40 29 15 I Mean difference between area ratios-2/15 In accordance with the facts explained I enunciate the physico-mathematical law of the natural harmony of spectral colors as follows: the tones of the seven pure spectral colors are geometrically represented by the relative areas of seven concentric and consecutive circular rings of equal width; they are arithmetically represented by seven con secutive terms of a progression beginning with one and having as difl'erencetwo; the area ratios thus obtained in terms of violet can be made practically equal to the vibration ratios in terms of do of a musical major diatonic scale.

Now let the spectral scale of colornotes shown in Fig. 1 be again examined. The meaning of the capital letters indicating the pure spectral colors and their intermediate hues is as follows: CV (V fiat, crimson violet), V (violet), IV (V sharp, indi o violet), VI (I flat, violet indi 0),I (indigs BI (I sharp, bluish indigog, IB (B flat, indigo blue), B (blue), GB (B sharp, greenish blue),BG (G flat, bluish green), G (green), YG (G sharp, yellowish green), GY (Y flat, greenish yellow), Y (yellow), OY (Y sharp, orange yellow), YO (O fiat. yellowish orange), 0 (oran e R0 (0 sharp, reddish orange), OR (B flat, orange red), R (red), CR (R sharp, crimson red). It is easily seen that the twenty one divisions of this scale (see Fig. 1) comprise, like a complete octave of musical notes, seven flats, seven notes and seven sharps. I .Figure 5 is a vertical front view of a chromopiano having a circular row of three projection holes or outlets for rays of light 1, 1, 1 and a: central projection hole 1. Figure6 is a vertical side view of the same instrument-with part of the sheet iron hood or casing 2, 2 removed and several interior mechanical combinations shown in section. Figure 8 is a vertical view of the back of the same instrument. Each projection hole 1, 1 (Figs. 5 and 6) is provided with a metal mounting or frame 3 to be used with any convenient system of projecting lenses. Each mounting can be moved along a vertical or horizontal circular are 4, 4 the center of which coincides with the center of the electric light or other light-producing device used in connection with the mounting. B means of these circular arcs 4, ithe spots ot colored light can be projected in any desired position. The instrument has two looking tubes 5, 5 through which the performer can see the result of his work. Behind each projection hole 1 of the row there is a pair of color wheels 6, 6. I use glass sec tors 7, 7 (Fig. 3) with the radial edges in close contact. These glass sectors 7. 7 are kept in place by means of the nut 8, the washer 9 and the grooved rim 10 made of two detachable parts joined by means of the bolts 11, 11. Therefore the glass sectors of each color wheel 6, 6 are easily interchanged or substituted. Each color wheel 6, 6 (Fig. 6) has a space IV or S (Fig. 3) without any glass sector or with an opaque sector, the remaining seven spaces having colored glass sectors imitating the seven pure colors, the seven flats or the seven sharps of the solar spectrum (see Fig. 1). With a pair of color wheels arranged in the above explained manner, a color note as well as a complete or partial superposition of color notes-can be projected. To execute the precedent operations the two color wheels 6, 6 are mounted on independent concentric axles 12, 13 (Fig. 6). One of thewheels 6, 6 is operated by means of the two parallel racks 14:, 14 either of which drives the pinion 1.5. The racks 14, 14 are driven by other racks moved by the sectors 16, 16

less, these movements being limited by stopping blocks 21, 21 (see Figs. 6 and 8). The other of the two .color wheels 6, 6 (Fig. 6) is operated by means of the crank 22 (Fig. 8), the position of the color wheel being constantly known by means of the circular plate 23 which is divided in eight equal sectors corresponding to the eight divisions of the color wheel shown in Fig. 3.

Besides the pair of color wheels 6, 6 (Fig. 6) already described I use behind each projection hole of the circular row a shutting diaphragm disk 24 (Fig. 4) having eight holes in the shape of circular ring sectors of different area. This shutting disk 24 is loosely mounted on the axle 12 '(Fig. 6). Three shutting disks 24,24, 24 corresponding to the circular row ofthree projection holes are simultaneously operated'by means of the toothed ring 25, the pinions 26, 26, 26 and the pinions 27 27, 27, these latter driving the shutting disks 24, 24, 24. (Figs. 6 and 8.)

The central projection hole is combined with a color wheel 28 and a shutting disk' 29 mounted on concentric axles and respectively operated by means of the cranks 30 and 31. The shutting disk 29 is kept in place by the friction spring 32- (Fig. 6).

The position of the color wheel'28 is constantly known by means of the circular plate 33 which is divided in eight equal sectors corresponding to the divisions of the color wheel shown in Fig. 3.

The source of light of the chromopiano can be an incandescent electric light or lamp or an arc lamp. There are in the chromopiano as many lamps as projection holes. The incandescent lamp 34 (Fig. 6) is sustained by the sliding piece 35, this piece being supported by the round guiding bar 36. A

thumb screw 37 is used to change the distance between the center of the lamp 34 and the condensing lens 39. A reflector 40, hanged from the bar '36, is used with the lamp.

With the chromopiano described in this specification several thousands of different three color note chords can be produced. When chromomusical chords with more than three color notes are desired the chromopiano is provided with more projection holes and more keys, but the essential working principles of the instrument remain the same. There is no difiiculty to transform a musical composition into a chromomusical composition. It suffices to substitute the notes of the musical composition by the'necessary color notes taken among the twenty-one divisions of the spectral scale shown in Fig. 1. It

.rying interchangeable opaque and transparracks, means to know the sector correspond- 1s only a matter of exercise and taste to make this substitution simple and beautiful keepmg in mind that one color note can substitute, when desired, a chord of musical notes. When playmg' chromomusic the change and 10 durat on of color notes are determined by fingering the keys of the chromopiano in accord with'any convenient musical rhythm. Keynote effects are produced by means of the color wheel and shutting disk of the central 15 hole. An infinite number of complex color tones are produced by simultaneously projecting two of the colored glass sectors of a pair of color wheels belonging to a projection hole.

I claim? 1 I i 1. In a light projecting apparatus, the combination of light-producing devices, a central outlet surrounded by arow of outlets, a central frame surrounded by a row of frames, for lenses, said frames being provided with means for changing and fixing the relative directions of the optical axes of' the lenses without suppressing the coincidence of said optical axes with the lumi- -nous centers of the light-producing devices, wheels carrying interchangeable opaque or transparent sectors of various colors, for shutting, coloring or changing the intensity of color of rays of'light, means for controlling the relative areas of colors projected in juxtaposition or superposition within the area of a spot of light, and means for controlling the duration of projection of spots of light.

2. In a light-projecting apparatus, the combination of light-producing devices,

' groups of parallel and concentric wheels carry ng interchangeable opaque or transparent sectors of various colors, means for changing step by step the relative positions in their respective plans of rotation of the wheels of a group, means for conjoint or independent rotation of the wheels of a group, means for controlling the duration of projection of spots of light.

3. In a light-projecting apparatus, the combination of groups of wheels provided with interchangeable opaque or transparent sectors of various colors, rotary diaphragmdisks, each diapl1ragmdisk being provided with a circular row of openings of different areas for changing one by one or together the relative areas of spots of light, pinions for driving said diaphragm-disks, and means for'driving said pinions.

4. In a light-projecting apparatus, the combination of light-producing devices, groups of parallel and concentric wheels car- 25 ent. sectors of various colors, of the whee s of a group being rigidly mounted on loose sleeves provided with pinions driven by racks, keys controlling the movement of said ing to each key, the remaining wheels of the group being rigidly mounted on the shaft sup )orting the sleeves, said shaft bem'g rotata )le step by ste and provided with means for knowing tie relative positions of the wheels of a group in their respective plans of rotation.

5. In a light-projecting apparatus, the combination of light-producing devices, groups of parallel and concentric wheels carrying interchangeable sectors, rotary diaphragm-disks loosely mounted'on the shaft of each group of wheels, each diaphragmdisk being provided with acircular row of openings of different areas, means for independently rotating step by step each diaphragm-disk, means for rotating together and step by step all the diaphragm-disks,

and means for knowing the relative positions in their respective plans of rotation of the diaphragm-disks.

6. In a light-projecting apparatus of the character described, the combination with rotary color-wheels, of one driving pinion for each color-wheel, each pinion being driven by a rack the course of which is controlled by a key. j

7. In a light-projecting apparatus of the character described, the combination with rotary color-wheels, of main keys for controlling the movements of the color-wheels, several auxiliary keys provided with means for controlling the main keys,.and means forcontrolling the movements of the auxiliary keys.

8. In a light-projecting apparatus of the character described, the combination with outlets for rays of light, of lenses or com binations of lenses, each of the frames supporting the lenses or combinations of lenses being revolvable around the'optical axis of its lens or lenses, and movable along a guiding are having its center in the luminous,

ARTHUR C. VINAGERAS.

- a Certificate of Correction. It is hereby certified that in Letters Patent No. 1,577 ,854, granted 'March 23,

1926, upo

n the application of Arthur G. Vinageras, of Lawrence, Massachusetts,

, for an improvement in Chromopianos. an error appears in the printed specification requiring correct-ion as follows: Page 3, line 126, claim 4, after f-the comma following the word colors insert the word some; and that the said Letters Patent should be read with this correct-ion therein that the same may conform to the record of the case in the Patent Ofiice.

Signed and sealed this 4th day of May, A. D. 1926.

M. J. MOORE, Acting Commissioner of Patents. 

